本文探讨中国画色彩的意义生成与当代改进。以320 件作品统计“显著设色”频率，40 名受试者评测冷暖与愉悦度， 并在宣纸/ 熟宣复现实验记录饱和度—层数。结果表明：自唐代起设色占比上升，明清及当代维持高位；暖调愉悦度更高， 冷调在“静穆”“清远”上占优；6—8 层出现边际递减。据此提出“分阶段设色—多层薄染—分区罩染”流程，并以材料 复合与数字预演支撑，为公共艺术与跨媒介创作提供可实施的色彩路径。

This study examines how color in Chinese painting generates meaning within the traditional discourse and how it can be refined under contemporary materials and techniques. Using a corpus of 320 representative works, we quantify the incidence of “pronounced coloration”; with 40 participants we assess warmth–coolness and perceived pleasantness; and through reconstructions on raw and sized Xuan paper we record saturation–layer curves. Results show: since the Tang dynasty the share of pronounced coloration rises and remains high through the Ming–Qing and today; warm palettes yield higher pleasantness, whereas cool palettes better sustain senses of serenity and distance; marginal gains taper around 6–8 layers. Accordingly, we propose a staged workflow—phased coloration, multi-layer light washes, and zonal glazing—supported by material compounding and digital pre-visualization, offering an actionable pathway for color planning in public art and cross-media practice.